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V125BC [204]
3 years ago
10

Read the excerpt below from act 1.1 of The Tragedy of Julius Caesar and answer the question that follows. Cobbler: Nay, I beseec

h you, sir, be not out with me. Yet, if you be out sir, I can mend you. MURELLUS: What meanest thou by that? “Mend” me, thou saucy fellow? Cobbler: Why, sir, cobble you. MURELLUS: Thou art a cobbler, art thou? In this example, “mend” means “to fix,” but the cobbler uses it in a way that gives it a double meaning. Based on this interaction, what are the two ways that the cobbler can “mend” Murellus?
English
2 answers:
denis23 [38]3 years ago
8 0

Answer:

The two ways the cobbler can mend Murellus is by fixing his shoes, as it is his job. Or he can beat him up, like straighten up his thinking. I think the cobbler uses mend as in beat him up because Murellus is not agreeing with the cobbler.

Explanation:

Deffense [45]3 years ago
7 0
The two ways the cobbler can mend Murellus is by fixing his shoes, as it is his job. Or he can beat him up, like straighten up his thinking. I think the cobbler uses mend as in beat him up because Murellus is not agreeing with the cobbler.
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Pope’s use of the mock-epic genre is intricate and exhaustive. The R*pe of the Lock is a poem in which every element of the contemporary scene conjures up some image from epic tradition or the classical world view, and the pieces are wrought together with a cleverness and expertise that makes the poem surprising and delightful. Pope’s transformations are numerous, striking, and loaded with moral implications. The great battles of epic become bouts of gambling and flirtatious tiffs. The great, if capricious, Greek and Roman gods are converted into a relatively undifferentiated army of basically ineffectual sprites. Cosmetics, clothing, and jewelry substitute for armor and weapons, and the rituals of religious sacrifice are transplanted to the dressing room and the altar of love.

The verse form of The R*pe of the Lock is the heroic couplet; Pope still reigns as the uncontested master of the form. The heroic couplet consists of rhymed pairs of iambic pentameter lines (lines of ten syllables each, alternating stressed and unstressed syllables). Pope’s couplets do not fall into strict iambs, however, flowering instead with a rich rhythmic variation that keeps the highly regular meter from becoming heavy or tedious. Pope distributes his sentences, with their resolutely parallel grammar, across the lines and half-lines of the poem in a way that enhances the judicious quality of his ideas. Moreover, the inherent balance of the couplet form is strikingly well suited to a subject matter that draws on comparisons and contrasts: the form invites configurations in which two ideas or circumstances are balanced, measured, or compared against one another. It is thus perfect for the evaluative, moralizing premise of the poem, particularly in the hands of this brilliant poet

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